We aim to keep an up-to-date selective bibliography, with links to online resources and in the SSSMG Repository. SSSMG members can submit entries as well as 'claim' anything they have authored themselves by completing this form.
You can filter using the 'search' field (separate your terms with spaces) and sort by any column by clicking it. (For instance, for all entries published in 2011 with the keyword "dynamic", try searching "2011 dynamic".) We are using the RILM classification system for document types (Media).
| Surname | Forename | Additional Authors | Unit Title | Source | Year | Media | External Link | Keywords | SSSMG Repository Link |
|---|---|---|---|---|---|---|---|---|---|
| Aav | Sebastian | Adaptive Music System for DirectSound | University of Linköping Campus Norrköping | 2005 | DM (M) | https://www.diva-portal.org/smash/get/diva2:21635/FULLTEXT01.pdf | dynamic music; DirectMusic; tools; middleware | ||
| Ahlers | Michael | Musik in Videospielen: Zwischen 8-Bit-Ästhetik und adaptivem Klanggeschehen | Musikforum, Heft 2/2009, 41-44 | 2009 | AP | history; adaptive music; 8-bit; technology | |||
| Aljanaki | Anja | Frans Wiering, Remko C. Veltkamp | Studying Emotion Induced by Music through a Crowdsourcing Game | Information Processing & Management 52/1, pp. 115-28 | 2016 | AP | http://www.sciencedirect.com/science/article/pii/S0306457315000424 | emotion; crowdsourcing; serious games; music information retrieval; Music Emotion Recognition; Geneva Emotional Music Scale | |
| Allouche | Khalid | Homam Albeiriss, Redouane Zarghoune, Juha Arrasvuori, Antti Eronen, Jukka Holm | Implementation and Evaluation of a Background Music Reactive Game | IE '07 Proceedings of the 4th Australasian conference on Interactive entertainment. RMIT University | 2007 | AS | technology; experimental; empirical; Briquolo; reactive games; game design | ||
| Alves | Valter | Licínio Roque | Guidelines for Sound Design in Computer Games | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 362-383 | 2011 | AC | Sound design; enrichment; experience; intentional sound design; multi-disciplinary; emotion; context; acoustic ecology; soundscape; resonance; entrainment; sound layers | ||
| Andersson | Anders-Petter | Birgitta Cappelen | Musical Interaction for Health Improvement | In Karen Collins, Bill Kapralos, Holly Tessler (eds.), The Oxford Handbook of Interactive Audio (Oxford: Oxford University Press) | 2014 | AC | health; sound design; interaction design; tangible interaction; musicking; co-creation; disability; empowerment; music therapy | ||
| Arditi | David | Virtual Jam: A Critical Analysis of Virtual Music Game Environments | In Michael Austin (ed.), Music Video Games: Performance, Politics, and Play (London: Boomsbury) | 2016 | AC | political economy; cultural studies; popular music; internet; DAW; Pro Tools | |||
| Arnold | Matthew | Inside the Loop: The Audio Functionality of Inside | The Computer Games Journal (Online First) | 2018 | AP | https://link.springer.com/article/10.1007/s40869-018-0071-x | spectromorphology; immersion; sound design; musical suture | ||
| Arrasvuori | Juha | Playing and Making Music: Exploring the Similarities between Video Games and Music-Making Software | University of Tampere | 2006 | DD | music games; music-making software; ludus; paidia; Magix Music Maker; MTV Music Generator 2; eJay Clubworld; Beatmania; Amplitude; Gitaroo Man; Fluid; SingStar; Get on da Mic; 100% Star | |||
| Arsenault | Dominic | Guitar Hero: "Not like playing guitar at all"? | Loading... 2/2 | 2008 | AP | Guitar Hero; music games; interfaces; | |||
| Aslinger | Ben | Genre in Genre: The Role of Music in Music Games | DiGRA '09 - Proceedings of the 2009 DiGRA International Conference: Breaking New Ground: Innovation in Games, Play, Practice and Theory | 2009 | AS | rhythm games; Rock Band; Flow! Urban Dance Uprising; Dance Dance Revolution; Guitar Hero; genre; rock; hip-hop | |||
| Audio Mostly | Proceedings of the Audio Mostly Conference | Proceedings of the Audio Mostly Conference | 2006 to 2010 | BS | Consult individual papers | ||||
| Auerbach | Brent | Pedagogical Applications of the Video Game Dance Dance Revolution to Aural Skills Instruction | Music Theory Online 16/1 | 2010 | AP | http://www.mtosmt.org/issues/mto.10.16.1/mto.10.16.1.auerbach.html | aural skills; music theory pedagogy; rhythm; sight-reading; CAI; popular music; Dance Dance Revolution | ||
| Austin | Michael | Sample, Cycle, Sync: The Music Sequencer and Its Influence on Music Video Games | In Michael Austin (ed.), Music Video Games: Performance, Politics, and Play (London: Boomsbury) | 2016 | AP | Chiptune Runner; My Singing Monsters; sequences; interface; affordance; organology; instrument; MDA | |||
| Austin | Michael | From mixtapes to multiplayers: Sharing musical taste through video games | The Soundtrack 8/1-2 | 2015 | AP | music games; remediation; participatory culture | |||
| Baccigalupo | Claudio | Design and Production of Audio Technologies for Video Games Development | Università degli Studi di Milano | 2003 | DM (M) | http://www2.iiia.csic.es/~claudio/papers/Baccigalupo-2003-MasterThesis-Section1.pdf | game design; history; technology; audio design | ||
| Baker | Nathan | The Music of Mario, Link, and Samus: Harmony, Form, and Meaning In Early Compositions by Koji Kondo and Hirokazu Tanaka | Analyzing the Music of Living Composers (And Others), ed. Jack Boss, Brad Osborn, Tim S. Pack, and Stephen Rodgers. Newcastle upon Tyne: Cambridge Scholars Publishing, 192-217. | 2013 | AC | music analysis; Super Mario Bros.; Metroid | |||
| Baxa | John | Effects of Contingent and Non-Contingent Audio on Performance and Quality of Experience in a Role-Playing Video Game | Kalamazoo College | 2008 | DM (U) | https://cache.kzoo.edu/bitstream/handle/10920/8995/JohnBaxaSIP.pdf?.. | empirical; experimental; immersion; dynamic music | ||
| Baysted | Stephen | Palimpsest, Pragmatism and the Aesthetics of Genre Transformation: Composing the Hybrid Score to Electronic Arts' Need for Speed Shift 2: Unleashed | In Michiel Kamp, Tim Summers, Mark Sweeney (eds.), Ludomusicology: Approaches to Video Game Music (Sheffield; Bristol, CT: Equinox) | 2016 | AC | dynamic music; composition; Need for Speed Shift 2: Unleashed; popular music | |||
| Baysted | Stephen | Simulation, Squaring the Immersion, Realism, and Gameplay Circle | In Miguel Mera, Ronald Sadoff, and Ben Winters (eds), The Routledge Companion to Screen Music and Sound (New York: Routledge), 328-337 | 2017 | AC | racing; cars; immersion; realism; Need for Speed; binaural recording; headphones; sound; Project Cars | |||
| Belinkie | Matthew | Video Game Music: Not Just Kid Stuff | VGMusic.com | 1999 | EA | http://www.vgmusic.com/information/vgpaper.html | history; composer interviews; game design; technology; | ||
| Berndt | Axel | Knut Hartmann | Strategies for Narrative and Adaptive Game Scoring | Audio Mostly - 2nd Conf. on Interaction with Sound, Fraunhofer IDMT, Ilmenau, Germany, September 2007, pp. 141-147 | 2007 | AS | dynamic music; composition; narrative; generated music | ||
| Berndt | Axel | Musical Nonlinearity in Interactive Narrative Environments | In G. Scavone, V. Verfaille, and A. da Silva (eds.) The International Computer Music Conference (ICMC) 2009, McGill University, Montreal, Canada, August 2009, pp. 355-358 | 2009 | AS | dynamic music; composition; narrative; generated music; transitions; | |||
| Berndt | Axel | Diegetic Music: New Interactive Experiences | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 60-76 | 2011 | AC | diegetic; diegesis; functions; implementation; nonlinearlity; controllability | |||
| Berndt | Axel | Knut Hartmann, Niklas Röber, and Maic Masuch | Composition and Arrangement Techniques for Music in Interactive Immersive Environments | In: Audio Mostly - A Conf. on Sound in Games, Interactive Institute/Sonic Studio, PiteÃ:¥, Sweden, October 2006, pp. 53-59 | 2006 | AS | dynamic music; composition; narrative; film music | ||
| Berndt | Axel | Knut Hartmann | The Functions of Music in Interactive Media | In: U. Spierling and N. Szilas (eds.) Interactive Digital Storytelling (ICIDS) 2008, Springer-Verlag Berlin Heidelberg, University of Applied Sciences Erfurt, Germany, November 2008, pp. 126-131. | 2008 | AS | dynamic music; perception; narrative; film music; functions | ||
| Berndt | Axel | Musik für interaktive Medien: Arrangement und Interpretationstechniken | Magdeburg University | 2011 | DD | dynamic music; composition; narrative; | |||
| Bessell | David | What's That Funny Noise? An Examination of the Role of Music in Cool Boarders 2, Alien Trilogy and Medievil 2 | In Geoff King and Tanya Krzywinska (eds) Screenplay: Cinema/Videogames/Interfaces (London and New York: Wallflower) 136-144. | 2002 | AC | film music; functions; dynamic music; Cool Boarders 2; Alien Trilogy; Medievil 2 | |||
| Beverburg Reale | Steven | Transcribing Musical Worlds; or, Is L.A. Noire a Music Game? | In K. J. Donnelly, William Gibbons, Neil Lerner (eds.), Music in Video Games: Studying Play (New York; London: Routledge) | 2014 | AC | music games; L.A. Noire; analysis; BIT.TRIP; levels | |||
| Blickhan | Samantha | "Listening" Through Digital Interaction in Björk's Biophilia | In Michiel Kamp, Tim Summers, Mark Sweeney (eds.), Ludomusicology: Approaches to Video Game Music (Sheffield; Bristol, CT: Equinox) | 2016 | AC | Biophilia; music games; apps; iPad | |||
| Boer | James | Game Audio Programming | Hingham, Massachusetts: Charles River Media | 2003 | BM | game design; technology; programming | |||
| Borchers | Jan | Max Mühlhäuser | Design Patterns for Interactive Musical Systems | IEEE Multimedia 5/3 | 1998 | AP | middleware; technology; programming; WorldBeat | ||
| Böttcher | Niels | Stefania Serafin | A Review of Interactive Sound in Computer Games: Can Sound Affect the Motoric Behavior of a Player? | In Karen Collins, Bill Kapralos, Holly Tessler (eds.), The Oxford Handbook of Interactive Audio (Oxford: Oxford University Press) | 2014 | AC | procedural audio; motoric behavior; self-produced sound; motion controllers; Max/MSP; granular synthesis; realism | ||
| Boyd | Andrew | When Worlds Collide: Sound and Music in Film and Computer Games | Gamasutra: Jan 17, 2003 | 2003 | EA | http://www.gamasutra.com/view/feature/131310/when_worlds_collide_sound_and_.php | game design; film music; audio design; | ||
| Braguinski | Nikita | Ästhetisches Rauschen. Die Werteökonomie der Computerklänge | In Shift-Restore-Escape. Retrocomputing und Computerarchäologie. Stefan Höltgen (ed.). CSW, 2014. | 2014 | AC | noise; aesthetics; value; perception; retro; 8-bit | |||
| Braguinski | Nikita | RANDOM. Die Archäologie der elektronischen Spielzeugklänge | Bochum: Projekt Verlag | 2018 | BM | unpredictability; iMuse; Ballblazer; Atari; Speak and Spell | |||
| Brame | Jason | Thematic Unity Across a Video Game Series | ACT 2 | 2011 | AP | http://www.act.uni-bayreuth.de/de/archiv/2011-02/03_Brame_Thematic_Unity/index.html | music theory; Schenkerian analysis; Super Mario Bros.; Legend of Zelda; semiotics; composition; | ||
| Brandon | Alexander | Audio for Games: Planning, Process, and Production | Berkeley, CA: New Riders Games | 2005 | BM | audio design; technology | |||
| Bridgett | Rob | Contextualizing Game Audio Aesthetics | In John Richardson, Claudia Gorbman, Carol Vernallis (eds.), The Oxford Handbook of New Audiovisual Aesthetics (Oxford: Oxford University Press) | 2013 | AC | postproduction; Scarface; audio director; sound design | |||
| Bridgett | Rob | Dynamic range: subtlety and silence in video game sound | In Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 127-134 | 2008 | AC | player control; dynamics; mixing; interactive; cultural artefact | |||
| Bridgett | Rob | From the shadows of film sound: cinematic production & creative process in video game audio: collected publications 2000-2010 | Self Published | 2010 | BM | audio design; film music; composition; technology | |||
| Bruno | Dan | Noteworthy: The Music That Influenced The Legend of Zelda: Ocarina of Time | Killscreen 1/5 (pp. 68-70) | 2011 | AP | Legend of Zelda | |||
| Bullerjahn | Claudia | Musik in Computerspielen. Vermarktungspotenzial, Nutzung und Wirkung | In Christofer Jost, Daniel Klug, Axel Schmidt and Klaus Neumann-Braun (eds.), Populäre Music, Mediale Musik? Transdisziplinäre Beiträge zu Medien der Populären Musik, Baden-Baden: Nomos, pp. 33-59 | 2011 | AC | http://www.academia.edu/4818621/Music_in_computer_games._Potential_for_marketing_utilization_and_effect | marketing; psychology; review; pop music; dynamic music | ||
| Burrill | Derek A. | Melissa Blanco Borelli | Dancing with Myself: Dance Central, Choreography, and Embodiment | In Melissa Blanco Borelli (ed.), The Oxford Handbook of Dance and the Popular Screen (Oxford: Oxford University Press) | 2014 | AC | Dance Central; avatar bodies; choreography; Kinect; embodiment | ||
| Capacchione | Tristan | Musical Gamescapes: A Study of Unity in Arcanum: Of Steamworks and Magick Obscura | Self Published (?) | 2007 | EA | https://www.hitpages.com/doc/5071230289838080/1#pageTop | music theory; Arcanum; ludus; paidia; gamescape; | ||
| Carlsson | Anders | Chip music: low-tech data music sharing | In Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 153-162 | 2008 | AC | chip music; demoscene; history; LP; EP; electronic music; music writing software; tracker; 8-bit | |||
| Cassidy | Gianna | Raymond MacDonald | The effects of music choice on task performance: A study of the impact of self-selected and experimenter-selected music on driving game performance and experience | Musicae Scientiae 13/2 357-386 | 2009 | AP | psychology; arousal; preference; performance; driving games | ||
| Cassidy | Gianna | Raymond MacDonald | The Role of Music in Video Games: The The Effects of Self-Selected and Experimenter-Selected Music on Driving Game Performance and Experience | Proceedings of the 10th International Conference on Music Perception and Cognition, 2008, Sapporo. pp. 762–767. | 2008 | AS | immersion; experience; game design; empirical; psychology; cognition | ||
| Cerrati | Michael | Video Game Music: Where it Came From, How it is Being Used Today, and Where it is Heading Tomorrow | Vanderbilt journal of entertainment and technology law, 8/2, 293-334. | 2006 | AP | history; financial statistics; licensing; legal; marketing; | |||
| Chan | Norman | A Critical Analysis of Modern Day Video Game Audio | University of Nottingham | 2007 | DM (U) | composer interviews; Civilization IV; Grand Theft Auto; Hitman: Blood Money; dynamic music; composition; music theory; diegetic music; | |||
| Cheng | William | Role-Playing toward a Virtual Musical Democracy in The Lord of the Rings Online | Ethnomusicology 56/1, 31-62 | 2012 | AP | virtual ethnography; Lord of the Rings Online | |||
| Cheng | William | Monstrous Noise: Silent Hill and the Aesthetic Economies of Fear | In Carol Vernallis, Amy Herzog, John Richardson (ed.), The Oxford Handbook of Sound and Image in Digital Media (Oxford: Oxford University Press) | 2013 | AC | Silent Hill; horror; noise; industrial music | |||
| Cheng | William | Acoustemologies of the Closet | In Mark Grimshaw (ed.), The Oxford Handbook of Virtuality (Oxford, Oxford University Press), 337-48 | 2014 | AC | virtual ethnography; online voice communication; gender; identity; sexual politics | |||
| Cheng | William | Afterword--Toadofsky's Music Lessons | In Michael Austin (ed.), Music Video Games: Performance, Politics, and Play (London: Boomsbury) | 2016 | AC | Super Mario RPG: Legend of the Seven Stars; musicality; music games; affordance | |||
| Cheng | William | Sound Play: Video Games and the Musical Imagination | Oxford; New York: Oxford University Press | 2014 | BM | aesthetics; virtual ethnography; Fallout 3; Final Fantasy VI; Silent Hill; Lord of the Rings Online; Team Fortress 2; concerts | |||
| Childs IV | G. W. | Creating Music and Sound for Games | Boston, MA: Thompson Course Technology | 2007 | BM | composition; sound design; design process; middleware; dynamic music; | |||
| Chung | Szu-Ming | Chun-Tsai Wu | Designing Music Games and Mobile Apps for Early Music Learning | In Serious Games and Edutainment Applications, Volume II. Minhua Ma, Andreas Oikonomou (eds.). Cham: Springer | 2017 | AC | rhythm games; early music learning; android; apps | ||
| Collins | Karen | From Pac-Man to Pop Music: Interactive Audio in Games and New Media | Aldershot, Hampshire and Burlington, VT: Ashgate | 2008 | BC | See individual entries | |||
| Collins | Karen | Game Sound: An Introduction to the History, Theory and Practice of Video Game Music and Sound Design | Cambridge, Mass. and London: MIT Press | 2008 | BM | history; technology; console hardware; aesthetics; dynamic music; composition; | |||
| Collins | Karen | An Introduction to Procedural Audio in Video Games | Contemporary Music Review: Special Issue on Generative Audio, 28/1, 5-15 | 2009 | AP | technology; composition; procedural audio; dynamic music | |||
| Collins | Karen | From Bits to Hits: Video Games Music Changes its Tune | Film International, 12, 4-19 | 2005 | AP | history; composition; dynamic music; music games; technology; console hardware | |||
| Collins | Karen | An Introduction to the Participatory and Non-Linear Aspects of Video Game Audio | In Hawkins, Stan and John Richardson (eds), Essays on Sound and Vision (Helsinki: Helsinki University Press), 263-298 | 2007 | AC | dynamic music; diegesis; composition; transitions; functions; Legend of Zelda; Grim Fandango; immersion; | |||
| Collins | Karen | Implications of Interactivity: What Does it Mean for Sound to be “Interactive”? | In John Richardson, Claudia Gorbman, Carol Vernallis (eds.), The Oxford Handbook of New Audiovisual Aesthetics (Oxford: Oxford University Press) | 2013 | AC | interactivity; feedback; control mechanisms; sound production; digital aesthetics; new media | |||
| Collins | Karen | Introduction | In Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 1-10 | 2008 | AC | history; game research; | |||
| Collins | Karen | Holly Tessler, Kevin Harrigan, Michael J. Dixon, Jonathan Fugelsang | Sound in Electronic Gambling Machines: A Review of the Literature and its Relevance to Game Sound | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 1-21 | 2011 | AC | EGMs; electronic gambling machines; arcade; advertising; gambling; casino; environment; physiology; sound; film; television | ||
| Collins | Karen | Breaking the Fourth Wall? User-Generated Sonic Content in Virtual Worlds | In Mark Grimshaw (ed.), The Oxford Handbook of Virtuality (Oxford, Oxford University Press) | 2014 | AC | multi-player; fourth wall; user-generated content; immersion; participation; magic circle | |||
| Collins | Karen | A History of Handheld and Mobile Video Game Sound | In Sumanth Gopinath, Jason Stanyek (eds.) The Oxford Handbook of Mobile Music Studies, Vol. 2 (Oxford Oxford University Press) | 2014 | AC | handheld consoles; technological constraints; sound chips; mobile phones; media convergence | |||
| Collins | Karen | Grand Theft Audio?: Popular Music and Interactive Games | Music and the Moving Image 1/1 | 2008 | AP | popular music; licensing; history; | |||
| Collins | Karen | Video Games Killed the Cinema Star | Music, Sound and the Moving Image, 1/1, 15-20 | 2007 | AP | video game music studies; influence; | |||
| Collins | Karen | Flat Twos and the Musical Aesthetic of the Atari VCS | Popular Musicology Online, 1 | 2006 | AP | technology; composition; Atari VCS; console hardware; aesthetics; chip music; 8-bit; | |||
| Collins | Karen | S. Ashby, T. Bush, J. Daoust, N. Duveau, J. Lewis, C. Robinson, T. White, G. Whitmore | Overcoming Roadblocks in the Quest for Interactive Audio | Project Bar-B-Q report 2007 | 2007 | AS | technology; composition; dynamic music; audio design; | ||
| Collins | Karen | Loops and Bloops: Music on the Commodore 64 | Soundscape: Journal of Media Culture, 8/1 | 2006 | AP | technology; composition; Commodore 64; console hardware; aesthetics; dynamic music; 8-bit; | |||
| Collins | Karen | In the Loop: Confinements and Creativity in 8-bit Games | Twentieth-Century Music, 4/2, 209-227 | 2007 | AP | technology; composition; history; console hardware; 8-bit; | |||
| Collins | Karen | Ruth Dockwray | Drive, Speed, and Narrative in the Soundscapes of Racing Games | In Miguel Mera, Ronald Sadoff, and Ben Winters (eds), The Routledge Companion to Screen Music and Sound (New York: Routledge), 400-411 | 2017 | AC | cars; realism; authenticity; narration; aesthetics; Forza; Gran Turismo; Need for Speed; recording | ||
| Collins | Karen | Game Sound in the Mechanical Arcades: An Audio Archaeology | Game Studies 16/1 | 2016 | AP | audio; mechanical; Victorian; archaeology; sound; history; recording | |||
| Cook | Karen M. | Music, History, and Progress in Sid Meier's Civilization IV | In K. J. Donnelly, William Gibbons, Neil Lerner (eds.), Music in Video Games: Studying Play (New York; London: Routledge) | 2014 | AC | Civilization IV; music history; classical music | |||
| Cook | James | Playing with the Past in the Imagined Middle Ages: Music and Soundscape in Video Game | In Dorothy Kim and Christopher Roman (eds.), Sounding Out! 'Theme: Medieval Soundscapes'. 3 October 2016. | 2016 | EA | https://soundstudiesblog.com/2016/10/03/playing-with-the-past-in-the-imagined-middle-ages-music-and-soundscape-in-video-game/ | Medievalism; early music; fantasy; high fantasy; social structure; sonic; representations of the past | ||
| Cook | Karen | Beyond the Grave: The “Dies Irae” in Video Game Music | Sounding Out! | 2017 | BG | https://soundstudiesblog.com/2017/12/18/beyond-the-grave-the-dies-irae-in-video-game-music/ | chant; dies irae; medievalism | ||
| Cook | Karen | Beyond (the) Halo: Plainchant in Video Games | Studies in Medievalism XXVII: Authenticity, Medievalism, Music | 2018 | AC | http://medievalism.net/?page_id=55 | chant; plainchant; halo; medievalism | ||
| Costello | Brigid Mary | Rhythmic Entrainment in Games | In Serious Games: Second Joint International Conference, JCSG 2016, Brisbane, QLD, Australia, September 26-27, 2016, Proceedings (Marsh, T., Ma, M., Oliveira, M. F., Baalsrud Hauge, J. & Göbel, S. eds.) | 2016 | AS | rhythm games; entrainment; serious games | |||
| Crathorne | Pieter | Video game genres and their music | University of Stellenbosch | 2010 | DM (M) | http://scholar.sun.ac.za/bitstream/handle/10019.1/4355/Crathorne,+P.J.pdf?sequence=1 | genre; art music; film music; music theory; | ||
| Cunningham | Stuart | Vic Grout, Rich Picking | Emotion, Content, and Context in Sound and Music | in Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 235-263 | 2011 | AC | Sound artefacts; information; processing; meaning; purpose; emotion; content analysis; context | ||
| Cury | Mónica Moreira | La Música de los Videojuegos: Modalidades de Uso y Su Relación Con El Imaginario Social. Un Estudio Sobre La Banda Sonora Del Juego: Final Fantasy VI' | University of Chile | 2004 | DM (M) | function; social implications; film music; Final Fantasy VII | |||
| Custodis | Michael | Playing with Music - Featuring Sound in Games | In Moormann, Peter (ed.), Music and Game: Perspectives on a Popular Alliance (Wiesbaden: Springer VS) | 2013 | AC | ||||
| DeCastro | Daniel | Quality Video Game Music Scores, Considering the Standards Set, and Personal Reflections | New York University | 2007 | DM (M) | http://www.vgmusic.com/information/vgpaper3.html | composition; aesthetics; music education; concerts; | ||
| Demers | Joanna | Dancing machines: :Dance Dance Revolution', cybernetic dance, and musical taste | Popular Music 25/3, 401-414 | 2006 | AP | music games; society; subcultures; Dance Dance Revolution; popular music; dance | |||
| D'Errico | Mike | How To Reformat The Planet: Technostalgia And The “Live” Performance Of Chipmusic | Journal on the Art of Record Production 6 | 2012 | AP | chiptune; ethnography; tracker interfaces; Game Boy; Bitshifter | |||
| d'Escrivan | Julio | Electronic Music and the Moving Image | In Nick Collins and Julio d'Escrivan (eds.), The Cambridge Companion to Electronic Music (Cambridge: Cambridge University Press), 156-170. | 2007 | AC | film music; electronic music; audio design; composition; television music; | |||
| Deutsch | Stephen | Music for Interactive Moving Pictures | In Larry Sider, Diane Freeman and Jerry Sider (eds.) Soundscape: The School of Sound Lectures 1998-2001 (London and New York: Wallflower Press) 28-34. | 2003 | AC | film music; history; composition; electronic music; transitions; | |||
| Diaz-Gasca | Juan Sebastian | Music Beyond Gameplay: Motivators in the Consumption of Videogame Soundtracks | Queensland Conservatorium of Music, Griffith University | 2015 | DD | https://www120.secure.griffith.edu.au/rch/items/839fcd41-d5de-49eb-b062-955fa92c23b1/1/ | soundtrack; narrative; marketing; sociocultural; nostalgia; consumption; themes; associations; fandom | ||
| Dibben | Nicola | Visualizing the App Album with Björk’s Biophilia | In Carol Vernallis, Amy Herzog, John Richardson (ed.), The Oxford Handbook of Sound and Image in Digital Media (Oxford: Oxford University Press) | 2013 | AC | music app; music album; interactivity; multisensory; Björk; Biophilia | |||
| Dittbrenner | Nils | Soundchip-Musik Computer- und Videospielmusik von 1977-1994 | Universität Lüneburg | 2005 | DM (M) | history; console hardware; technology; composition; 8-bit; dynamic music; chip music; | |||
| Dockwray | Ruth | Karen Collins | A Symphony of Sound: Surround Sound in Formula One Racing Games | In Paul Théberge, Kyle Devine, Tom Everett (eds.), Living Stereo: Histories and Cultures of Multichannel Sound, New York; London: Bloomsbury | 2015 | AC | racing game; Formula One; surround sound; sound effects; Low Frequency Effects | ||
| Dolphin | Andrew | Defining Sound Toys: Play as Composition | In Karen Collins, Bill Kapralos, Holly Tessler (eds.), The Oxford Handbook of Interactive Audio (Oxford: Oxford University Press) | 2014 | AC | sound toys; open work; instruments; spectromorphology; generative systems | |||
| Donnelly | K.J. | Lawn of the Dead: The Indifference of Musical Destiny in Plants vs. Zombies | In K. J. Donnelly, William Gibbons, Neil Lerner (eds.), Music in Video Games: Studying Play (New York; London: Routledge) | 2014 | AC | Plants vs. Zombies; dynamic music; anempathetic music; horror games | |||
| Donnelly | K.J. | Emotional Sound Effects and Metal Machine Music: Soundworlds in Silent Hill Games and Films | In The Palgrave Handbook of Sound Design and Music in Screen Media: Integrated Soundtracks. Liz Greene, Danijela Kulezic-Wilson (eds.). London: Palgrave Macmillan | 2016 | AC | Silent Hill; adaptations; film; unified soundtracks | |||
| Dozal | Mario A. | Consumerism Hero: The "Selling Out" of Guitar Hero and Rock Band | In Michael Austin (ed.), Music Video Games: Performance, Politics, and Play (London: Boomsbury) | 2016 | AC | rock; political economy; authenticity; Guitar Hero; Rock Band; rhythm game; commodification; conspicuous consumption | |||
| Drescher | Peter | Could ringtones be more annoying? | In Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 47-54 | 2008 | AC | transfer; sonic quality; future; MP3; technology; customization | |||
| Driscoll | Kevin | Joshua Diaz | Endless Loop: A Brief history of Chiptunes | Transformative Works and Cultures 2 | 2009 | AP | 8-bit; demo scene; participatory culture; sampling | ||
| Droumeva | Milena | An Acoustic Communication Framework for Game Sound: Fidelity, Verisimilitude, Ecology | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 131-152 | 2011 | AC | Fidelity; verisimilitude; acoustic realism; communication; patterns of listening; acoustic communities; ecology; listening modes; attentional stances; soundscapes; culture | |||
| Ekman | Inger | Petri Lankoski | Hair-Raising Entertainment: Emotions, Sound, and Structure in Silent Hill 2 and Fatal Frame | In Bernard Perron (ed), Horror Video Games: Essays on the Fusion of Fear and Play (Jefferson, NC: McFarland & Co), 181-199. | 2009 | AC | perception; emotion; Silent Hill 2; Fatal Frame; threat | ||
| Ekman | Inger | A Cognitive Approach to the Emotional Function of Game Sound | In Karen Collins, Bill Kapralos, Holly Tessler (eds.), The Oxford Handbook of Interactive Audio (Oxford: Oxford University Press) | 2014 | AC | nonmusical sound; emotion; affect; embodied cognition; narrative | |||
| Erbe | Marcus | Mundane Sounds in Miraculous Realms: An Auditory Analysis of Fantastical Games | In Moormann, Peter (ed.), Music and Game: Perspectives on a Popular Alliance (Wiesbaden: Springer VS), 125-146 | 2013 | AC | fantastical games; mundane; | |||
| Eyles | Mark | Dan Pinchbeck | Playful Ambience | DiGRA '11 - Proceedings of the 2011 DiGRA International Conference: Think Design Play | 2011 | AS | ambient music; Brian Eno; gamification; Ford Fusion Hybrid | ||
| Farnell | Andy | Behaviour, Structure and Causality in Procedural Audio | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 313-339 | 2011 | AC | Procedural audio; historical; philosophical; commercial; technological; sound synthesis; virtual world; interactivity; real-time; computation | |||
| Farnell | Andy | An introduction to procedural audio and its application in computer games. | Self Published | 2007 | EA | http://cs.au.dk/~dsound/DigitalAudio.dir/Papers/proceduralAudio.pdf | procedural audio; composition; perception; technology | ||
| Fay | Todd M. | Scott Selfon and Todor J. Fay | DirectX 9 Audio Exposed: Interactive Audio Development | Plano, Texas: Wordware | 2004 | BC | composition; audio design; technology; DirectMusic; middleware | ||
| Fleshner | Nathan | Pitching the Rhythm: Music Games for the iPad | In Michael Austin (ed.), Music Video Games: Performance, Politics, and Play (London: Boomsbury) | 2016 | AC | rhythm; Groove Coaster; Tone Sphere; iPad; music theory; composition; Soundrop; music games | |||
| Franklin | Janice | Video Game Audio: Music? | AAA-TAC: Acoustical, art and artifacts"Technology, aesthetics, communication. Vol. 1 | 2004 | AP | interviews; perception; dynamic music; reviews; journalism; | |||
| Friberg | Johnny | Dan Gärdenfors | Audio Games: New perspectives on game audio | Paper presented at the" ACE conference 2004, Singapore, June 2004 | 2004 | AS | audio games; game design; audio design; Mudsplat; X-tune; Tim's Journey; perception; | ||
| Fritsch | Melanie | Musik spielen - Computerspiele und Musik | ACT 2 | 2011 | AP | http://www.act.uni-bayreuth.de/de/archiv/2011-02/01_editorial/index.html | history; Video Games Live; Civilization IV; awards; Scott Pilgrim vs. the World | ||
| Fritsch | Melanie | Worlds of Music: Strategies for Creating Music-based Experiences in Videogames | In Karen Collins, Bill Kapralos, Holly Tessler (eds.), The Oxford Handbook of Interactive Audio (Oxford: Oxford University Press) | 2014 | AC | gameplay pattern; rhythm games; virtual world; narrative; experience; gestalt theory; Brütal Legend; Eternal Sonata; Vib-Ribbon | |||
| Fritsch | Melanie | Beat it!--Playing the "King of Pop" in Video Games | In Michael Austin (ed.), Music Video Games: Performance, Politics, and Play (London: Boomsbury) | 2016 | AC | Michael Jackson; performance studies; stardom; Michael Jackson's Moonwalker | |||
| Fritsch | Melanie | "It's a-me, Mario!": Playing with Video Game Music | In Michiel Kamp, Tim Summers, Mark Sweeney (eds.), Ludomusicology: Approaches to Video Game Music (Sheffield; Bristol, CT: Equinox) | 2016 | AC | literacy; fandom; participatory culture; Super Mario Bros.: The 8-Bit Opera | |||
| Fritsch | Melanie | History of Video Game Music | In Moormann, Peter (ed.), Music and Game: Perspectives on a Popular Alliance (Wiesbaden: Springer VS), 11-41 | 2013 | AC | ||||
| Fritsch | Melanie | Live Performance Games? - Musikalische Bewegung sehen, hören und spielen. | In Schroedter, Stephanie (ed.), "Bewegungen zwischen Hören und Sehen: Denkbewegungen über Bewegungskünste", Würzburg: Königshausen & Neumann, 2012; p. 609-624. | 2012 | AC | ||||
| Fritsch | Melanie | Stefan Strötgen | Relatively Live: How to Identify Live Music Performances | Music and the Moving Image 5/1, 2012 (March) | 2012 | AP | |||
| Fritsch | Melanie | Musik | in Benjamin Beil, Thomas Hensel, Andreas Rauscher (eds.), Game Studies (Wiesbaden: Springer VS), 87-107 | 2017 | AC | https://link.springer.com/chapter/10.1007/978-3-658-13498-3_5 | history; composition; introductoin; overview; Left 4 Dead | ||
| Fritsch | Melanie | Musik und Computerspiele, oder: Wie das »Ludo-« in die Musikologie kam | in Christoph Hust (ed.) Digitale Spiele Interdisziplinäre Perspektiven zu Diskursfeldern, Inszenierung und Musik (Bielefeld: Transcript Verlag) 385-396 | 2018 | AC | http://www.transcript-verlag.de/978-3-8376-4002-1/digitale-spiele/ | performance; overview; theory; history | ||
| Furlong | Cian | Computer Game Music - A Multifunctional Medium | University College Dublin | 2004 | DM (U) | https://danielrparente.files.wordpress.com/2012/04/computer_game_music_-_a_multifunctional_medium.pdf | composition; Super Mario Bros.; film music; marketing; function | ||
| Gallacher | Susan | The Sounds of Skyrim: A Musical Journey Through Gaming | In Angela Cresswell Jones and Rebbecca Jane Bennett (eds.), The Digital Evolution of Live Music (Waltham, MA; Kidlington: Chandos), pp. 99-106 | 2015 | AC | Liveness; Skyrim | |||
| Ganiti | Aikaterini | Nikolaos Politopoulos, Thrasyvoulos Tsiatsos | The Impact of Background Music on an Active Video Game | In Interactive Mobile Communication Technologies and Learning: Proceedings of the 11th IMCL Conference. Michael E. Auer, Thrasyvoulos Tsiatsos (eds.) | 2018 | AS | background music; emotions; Tennis Attack; Kinect | ||
| Garner | Tom A. | Mark Grimshaw | Sonic Virtuality: Understanding Audio in a Virtual World | In Mark Grimshaw (ed.), The Oxford Handbook of Virtuality (Oxford, Oxford University Press) | 2014 | AC | embodied cognition; imagination; acoustic ecology; virtuality; reality | ||
| Gersic | Thomas E. | Playing and the Past: Toward a New Sound for Games | In Zach Whalen and Laurie N. Taylor (eds.), Playing the Past: History and Nostalgia in Video Games, Nashville TN: Vanderbilt University Press. | 2008 | AC | sound design; Digital Audio Workstation; Resident Evil O; Hitchcock; diegetic sound effects; generative music | |||
| Gibbons | William | Wrap Your Troubles in Dreams: Popular Music, Narrative, and Dystopia in Bioshock | Game Studies 11/3 | 2011 | AP | http://gamestudies.org/1103/articles/gibbons | popular music; perception; Bioshock; narrative; licensed music; irony | ||
| Gibbons | William | Wandering Tonalities: Silence, Sound, and Morality in Shadow of the Colossus | In K. J. Donnelly, William Gibbons, Neil Lerner (eds.), Music in Video Games: Studying Play (New York; London: Routledge) | 2014 | AC | Shadow of the Colossus; silence; dynamic music | |||
| Gibbons | William | Remixed Metaphors: Manipulating Classical Music and its Meanings in Video Games | In Michiel Kamp, Tim Summers, Mark Sweeney (eds.), Ludomusicology: Approaches to Video Game Music (Sheffield; Bristol, CT: Equinox) | 2016 | AC | classical music; Gyruss; Fez; Boom Boom Rocket; Catherine | |||
| Gibbons | William | Blip, Bloop, Bach? Some Uses of Classical Music on the Nintendo Entertainment System | Music and the Moving Image 2/1, 40-52 | 2009 | AP | classical music; NES; composition; Battle of Olympus; Captain Comic; Pirates!; Tetris; politics; imagery; Folk Tunes; Tchaikovsky; Bach; Handel; Mozart; pre-existing music | |||
| Gibbons | William | Music, Genre, and Nationality in the Postmillenial Fantasy Role-Playing Game | In Miguel Mera, Ronald Sadoff, and Ben Winters (eds), The Routledge Companion to Screen Music and Sound (New York: Routledge), 412-427 | 2017 | AC | RPG; JRPG; Inon Zur; Elder Scrolls; Nobuo Uematsu; Koichi Sugiyama; Jeremy Soule; The Witcher; narrative; game type | |||
| Gibbons | William | Unlimited Replays: Video Games and Classical Music | Oxford: Oxford University Press | 2018 | BM | classical music; Chopin; BioShock: Infinite; Civilization IV | |||
| Gibbons | William | The Sounds in the Machine: Hirokazu Tanaka's Cybernetic Soundscape for Metroid | In The Palgrave Handbook of Sound Design and Music in Screen Media: Integrated Soundtracks. Liz Greene, Danijela Kulezic-Wilson (eds.). London: Palgrave Macmillan | 2016 | AC | Metroid; sound design; Forbidden Planet; art music; NES | |||
| Gibbons | William | Little harmonic labyrinths: Baroque musical style on the Nintendo Entertainment System | In James Cook, Alexander Kolassa, Adam Whittaker (eds.), Recomposing the Past: Representations of Early Music on Stage and Screen (New York: Routledge) | 2018 | AC | https://www.taylorfrancis.com/books/e/9781351975520/chapters/10.4324%2F9781315268255-9 | Nintendo Entertainment System; Dragon Warrior; baroque music; aesthetics; medievalism | ||
| Greenfield-Casas | Stefan | Between Worlds: Musical Allegory in Final Fantasy X | The University of Texas at Austin | 2017 | DM (M) | https://www.academia.edu/33912037/Between_Worlds_Musical_Allegory_in_Final_Fantasy_X | Final Fantasy; Kingdom Hearts; Nobuo Uematsu; hyperreal; simulation; antitheism; replay value; tonality | ||
| Greenfield-Casas | Stefan | Playing with Time in the Zodiac Age | Musicology Now | 2017 | AG | http://musicologynow.ams-net.org/2017/08/playing-with-time-in-zodiac-age.html?m=1 | Hitoshi Sakimoto; Final Fantasy; Bakhtin; temporality; grinding; boss battles; chronotope | ||
| Grethe | Mitchell | Andrew Clarke | Videogame Music: Chiptunes Byte Back? | DiGRA '07 - Proceedings of the 2007 DiGRA International Conference: Situated Play | 2007 | AS | chiptune; 8-bit music; subculture | ||
| Grimshaw | Mark | Game Sound: Game Sound Technology and Player Interaction: Concepts and Developments | Hershey, Pa: Information Science Reference | 2010 | BC | See individual entries | |||
| Grimshaw | Mark | Tom A. Garner | Embodied Virtual Acoustic Ecologies of Computer Games | In Karen Collins, Bill Kapralos, Holly Tessler (eds.), The Oxford Handbook of Interactive Audio (Oxford: Oxford University Press) | 2014 | AC | embodied cognition; emotion; affect; biofeedback; psychophysiology; acoustic ecology | ||
| Grimshaw | Mark | Sound and Player Immersion in Digital Games | In Trevor Pinch and Karin Bijsterveld (eds.), The Oxford Handbook of Sound Studies (Oxford Oxford University Press) | 2011 | AC | first-person shooter; sound; immersion; real world; virtual world | |||
| Grimshaw | Mark | Gareth Schott | A Conceptual Framework for the Analysis of First-Person Shooter Audio and its Potential Use for Game Engines | International Journal of Computer Games Technology | 2008 | AP | perception; ecology; first-person shooter; audio design; affordance | ||
| Grimshaw | Mark | Craig A. Lindley, Lennart Nacke | Sound and Immersion in the First-Person Shooter | International Journal of Intelligent Games & Simulation 5/1 | 2008 | AP | first-person shooter; audio design; immersion; procedural audio; technology | ||
| Grimshaw | Mark | Craig A. Lindley, Lennart Nacke | Sound and Immersion in the First-Person Shooter:Mixed Measurement of the Player's Sonic Experience | Proceedings of Audio Mostly 2008 | 2008 | AS | first-person shooter; audio design; immersion; procedural audio; technology | ||
| Grimshaw | Mark | The Acoustic Ecology of the First-Person Shooter: The Player Experience of Sound in the First-Person Shooter Computer Game | Saarbrücken: VDM Verlag Dr. Mueller | 2008 | BM | perception; ecology; first-person shooter; audio design; Urban Terror; soundscape; affordance; Gibson; space | |||
| Grimshaw | Mark | Gareth Schott | Situating Gaming as a Sonic Experience: The acoustic ecology of First-Person Shooters | Situated Play (2007) Proceedings of DIGRA, Digital Games Research Association, September 24-28, 2007, Tokyo, Japan | 2007 | AS | perception; ecology; first-person shooter; audio design; soundscape; affordance | ||
| Grimshaw | Mark | The Acoustic Ecology of the First-Person Shooter | University of Waikato | 2007 | DD | perception; ecology; first-person shooter; audio design; Urban Terror; soundscape; affordance; Gibson; space | |||
| Grimshaw | Mark | Siu-Lan Tan, Scott D. Lipscomb | Playing with Sound: The Role of Music and Sound Effects in Gaming | In Tan, Siu-Lan, Cohen, Annabel J. Cohen, Scott D. Lipscomb, Roger A. Kendall (eds.), The Psychology of Music in Multimedia | 2013 | AC | psychology; sound design; cognitive load; review; technology | ||
| Guerraz | Agnes | Jacques Lemordant | Indeterminate adaptive digital audio for games on mobiles | In Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 55-72 | 2008 | AC | mobiles; portable; API; audio formats; AMML; interactive; 3D audio; iXMF; programmatic control | ||
| Hart | Iain | Meaningful Play: Performativity, Interactivity and Semiotics in Video Game Music | Musicology Australia, 36/2, pp. 273-290 | 2014 | AP | http://dx.doi.org/10.1080/08145857.2014.958272 | ludomusicology; performativity; interactivity; semiology; semiotics; music; expression; text; gameplay | ||
| Hart | Iain | Hard Boiled Music: The Case of L.A. Noire | Screen Sound, n5 | 2015 | AP | http://www.screensoundjournal.org/issues/n5/06.%20SSJ%20n5%20Hart.pdf | film noir; neo-noir; period noir; hard-boiled detective fiction; jazz; jeu noir | ||
| Harvey | Trevor S. | Virtual Worlds: An Ethnomusicological Perspective | In Mark Grimshaw (ed.), The Oxford Handbook of Virtuality (Oxford, Oxford University Press) | 2014 | AC | virtual worlds; Second Life; musical personas; identity; avatars; ethnography | |||
| Havryliv | Mark | Emiliano Vergara-Richards | From Battle Metris to Symbiotic Symphony: A New Model for Musical Games | University of Wollongong Research Online | 2006 | AS | http://ro.uow.edu.au/cgi/viewcontent.cgi?article=1027&context=creartspapers | music games; Battle Metris; gamification; John Cage; Iannis Xenakis; game design; | |
| Hébert | Sylvie | Renée Béland, Odrée Dionne-Fournelle, Martine Crête, Sonia J. Lupien | Physiological Stress Response to Video-Game Playing: The Contribution of Built-in Music | Life Sciences 76/20, pp. 2371-80 | 2005 | AP | psychology; Quake III Arena; stress; experiment | ||
| Herber | Norbert | The composition-instrument: emergence, improvisation and interaction in games and new media | in Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 103-123 | 2008 | AC | Spore; Brian Eno; sound garden; interaction; art music; electroplankton; minimalism | |||
| Hermans | Phillip | Cooperation and Competition in Music Composition | Dartmouth College | 2013 | DM (M) | http://gradworks.umi.com/15/64/1564117.html | music composition; games; consensus protocol; agent-based modeling; music education | ||
| Herz | J. C. | Joystick Nation: How Videogames Gobbled Our Money, Won Our Hearts and Rewired Our Minds | London: Abacus | 1997 | BM | History; sound effects; technology development (causal); regional differences of composition; early composition styles | |||
| Herzfeld | Gregor | Atmospheres at Play: Aesthetical Considerations of Game Music | In Moormann, Peter (ed.), Music and Game: Perspectives on a Popular Alliance (Wiesbaden: Springer VS) | 2013 | AC | ||||
| Hoffert | Paul | Music for New Media: Composing for Videogames, Web Sites, Presentations, and other Interactive Media | Boston, MA: Berklee Press | 2007 | BM | Composition; technology; middleware; | |||
| Holtar | Nils Iver | Mark J. Nelson, and Julian Togelius | Audioverdrive: Exploring bidirectional communication between music and gameplay | Proceedings of the 2013 International Computer Music Conference | 2013 | AS | Composition; bidirectional ; interactive; dynamic music | ||
| Höltgen | Stefan | Play that Pokey Music: Computer Archeological Gaming with Vintage Sound Chips | The Computer Games Journal (Online First) | 2018 | AP | https://link.springer.com/article/10.1007/s40869-018-0068-5 | sound chip; archaeology; retrocomputing; history | ||
| Hoover | Tom | Keeping Score: Interviews with Today's Top Film, Television and Game Music Composers | Boston: Course Technology | 2010 | BM | Composition; interviews; Marty O'Donnell; Winifred Phillips; Inon Zur; Cris Velasco; Jesper Kyd; Jason Graves | |||
| Hug | Daniel | New Wine in New Skins: Sketching the Future of Game Sound Design | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 384-415 | 2011 | AC | Technology; development; Hollywood; naturalism; reality; liberation; soundtrack; aesthetics | |||
| Hugill | Andrew | Panos Amelides | Audio-only computer games: 'Papa Sangre' | Emmerson, S and Landy, L, eds. Expanding the horizon of electroacoustic music analysis. Cambridge University Press, Cambridge, pp. 355-375. | 2016 | AC | electroacoustic music; audio games; Papa Sangre | ||
| Ivanescu | Andra | Torched song: The hyperreal and the music of L.A. Noire | The Soundtrack 8/1-2 | 2015 | AP | semiotics; hyperreal; narrative; preexisting music; L.A. Noire; popular music | |||
| Ivănescu | Andra | Beneath a Steel Sky: A Musical Characterisation of Class Structure | The Computer Games Journal (Online First) | 2018 | AP | https://link.springer.com/article/10.1007/s40869-018-0067-6 | Beneath a Steel Sky; semiotics; social class; environmental storytelling | ||
| Jenson | Jennifer | Suzanne de Castell, Nicholas Taylor, Milena Droumeva, Stephanie Fisher | The Gigue is Up: High Culture Gets Game | DiGRA '09 - Proceedings of the 2009 DiGRA International Conference: Breaking New Ground: Innovation in Games, Play, Practice and Theory | 2009 | AS | Tafelkids: The Quest for Arundo Donax; Baroque music; music education | ||
| Jørgensen | Kristine | "What are these Grunts and Growls over there?" Computer Game Audio and Player Action | Copenhagen University | 2007 | DD | film music; ecology; perception; interviews; diegesis; transdiegesis | |||
| Jørgensen | Kristine | Audio and Gameplay: An Analysis of PvP Battlegrounds in World of Warcraft | Game Studies 8/2 | 2008 | AP | World of Warcraft; earcons; transdiegesis; ecology; function | |||
| Jørgensen | Kristine | Left in the dark: playing computer games with the sound turned off | In Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 163-176 | 2008 | AC | sound; information; Warcraft III; psychology; sound off; information; Hitman Contracts; stealth; strategy; player responses; empirical; information; orientation; space; virtual world | |||
| Jørgensen | Kristine | Time for New Terminology? Diegetic and Non-Diegetic Sounds in Computer Games Revisited | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 78-97 | 2011 | AC | Diegesis; non-diegetic; diegetic; fictionality; terminology; spatial; space; gameworlds | |||
| Jørgensen | Kristine | On the Functional Aspects of Computer Game Audio | In Proceedings of the Audio Mostly Conference. Interactive Institute, Piteå, Sweden | 2006 | AS | space; transdiegesis; function; earcons; | |||
| Jørgensen | Kristine | A Comprehensive Study of Sound in Computer Games: How Audio Affects Player Action | Lewiston, NY: Mellen | 2009 | BM | perception; Warcraft III; Hitman Contracts; history; film music; diegesis; earcons; semiotics; transdiegesis; | |||
| Jørgensen | Kristine | On Transdiegetic Sounds in Computer Games | Northern Lights Vol. 5: Digital Aesthetics and Communication | 2007 | AP | transdiegesis; diegesis; extradiegesis; meta-communication; film music | |||
| Jørgensen | Kristine | Sounds and Sources in Sacred | Proceedings from Cosign 2004. Split, Croatia | 2004 | AS | function; semiotics; Fencott; Sacred; Chion; perception | |||
| Jørgensen | Kristine | Emphatic and Ecological Sounds in Gameworld Interfaces | In Miguel Mera, Ronald Sadoff, and Ben Winters (eds), The Routledge Companion to Screen Music and Sound (New York: Routledge), 72-84 | 2017 | AC | ecology; interactivity; diegesis; worlds; icons; earcons; sounds; dynamic | |||
| Kaae | Jesper | Theoretical approaches to composing dynamic music for video games | In Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 75-92 | 2008 | AC | dynamic music; changes; mixing; segue; linearity; adaptive music; multi-linearity; time | |||
| Kamp | Michiel | Suture and Peritexts: Music Beyond Gameplay and Diegesis | In Michiel Kamp, Tim Summers, Mark Sweeney (eds.), Ludomusicology: Approaches to Video Game Music (Sheffield; Bristol, CT: Equinox) | 2016 | AC | paratext; peritext; suture; semiotics; Super Mario Bros.; Braid; Super Meat Boy; Max Payne; Battlefield 1942 | |||
| Kamp | Michiel | Musical Ecologies in Video Games | Philosophy & Technology 27/2, 235-49 | 2014 | AP | perception; James Gibson; ecological psychology; affordances; diegesis | |||
| Kamp | Michiel | Four Ways of Hearing Video Game Music | University of Cambridge | 2014 | DD | phenomenology; listening; ludic music; background music; ecological psychology; aesthetics | |||
| Kamp | Michiel | Ludic music in video games | Utrecht University | 2009 | DM (M) | http://dspace.library.uu.nl/bitstream/handle/1874/179576/Kamp,%20Michiel%20-%20MA%20Thesis.pdf?sequence=1 | ludic music; Juul; narrative; function; puzzles; music games; Caillois; fiction; rules | ||
| Kanamori | Shinya | Ryo Yoneda, Masashi Yamada | Congruency Between Music and Motion Pictures in the Context of Video Games: Effects of Emotional Features in Music | Proceedings of the 12th International Conference on Music Perception and Cognition of the European Society for the Cognitive Sciences of Music, July 23-28, 2012, Thessaloniki, Greece | 2012 | AS | http://icmpc-escom2012.web.auth.gr/files/papers/505_Proc.pdf | psychology; congruency; experiment; pleasantness; excitation; semantic differential scales | |
| Kaneda | Miki | Rhythm Heaven: Video Games, Idols, and Other Experiences of Play | In Sumanth Gopinath, Jason Stanyek (eds.) The Oxford Handbook of Mobile Music Studies, Vol. 2 (Oxford Oxford University Press) | 2014 | AC | rhythm game; Rhythm Heaven; Game Boy Advance; racialized ideology; Japanese bodies; moving onscreen objects | |||
| Kärjä | Antti-Ville | Marketing music through computer games: the case of Poets of the Fall and Max Payne 2 | In Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 27-44 | 2008 | AC | marketing; copyright; production; licensed music; authenticity; global; local; Max Payne 2; Poets of the Fall | |||
| Kassabian | Anahid | Ubiquitous listening | In David Hesmondhalgh and Keith Negus (eds), Popular Music Studies (London: Arnold), 131-142. | 2002 | AC | music technological cultures; modes of listening; subjectivity; technology | |||
| Kassabian | Anahid | The End of Diegesis As We Know It? | In John Richardson, Claudia Gorbman, Carol Vernallis (eds.), The Oxford Handbook of New Audiovisual Aesthetics (Oxford: Oxford University Press) | 2013 | AC | diegetic; nondiegetic; web sites; apps; new media | |||
| Kassabian | Anahid | Freya Jarman | Game and Play in Music Video Games | In Michiel Kamp, Tim Summers, Mark Sweeney (eds.), Ludomusicology: Approaches to Video Game Music (Sheffield; Bristol, CT: Equinox) | 2016 | AC | music games; rhythm games; Caillois; mobile phones; Tap Tap Revenge; ludology | ||
| Kassabian | Anahid | Roger Moseley et al. | Roundtable: Current Perspectives on Music, Sound, and Narrative in Screen Media | In Miguel Mera, Ronald Sadoff, and Ben Winters (eds), The Routledge Companion to Screen Music and Sound (New York: Routledge), 108-124 | 2017 | AC | narrative; film music; interfaces; VR; ludic challenge | ||
| Kayali | Fares | Gestural Interaction in Music Video Games | Digital Games: Theory and Design: conference at Brunel University, London, Great Britain, 09/14/07 | 2008 | AS | http://igw.tuwien.ac.at/fares/Fares_Kayali/publications/Entries/2007/9/14_Gestural_Interaction_in_Music_Video_Games_files/KayaliGesturalInteraction.pdf | music games; Guitar Hero; Electroplankton; perception; tangible interfaces | ||
| Kayali | Fares | Martin Pichlmair, Petr Kotik | Mobile Tangible Interfaces as Gestural Instruments | 5th International Music Workshop 2008, Vienna, Austria, 05/13/08-05/16/08 | 2008 | AS | https://igw.tuwien.ac.at/fares/Fares_Kayali/publications/Entries/2008/2/20_Mobile_Tangible_Interfaces_as_Gestural_Instruments_files/GesturalInstruments.pdf | tangible interfaces; perception; music games; game design; | |
| Kayali | Fares | Vera Schwarz; Gerit Götzenbrucker; Jürgen Pfeiffer; Barbara Franz; Peter Purgathofer | Serious Beats: Transdisciplinary research methodologies for designing and evaluating a socially integrative serious music-based online game | DiGRA '11 - Proceedings of the 2011 DiGRA International Conference: Think Design Play | 2011 | AS | music games; design; social integration; migrants | ||
| Kayali | Fares | Playing Music: Design, Theory, and Practice of Music-based Games | Vienna University of Technology | 2008 | DD | music games; game design; interviews; Otocky; Parappa the Rapper; Sim Tunes; Vib Ribbon; FreQuency; Rez; Guitar Hero; Electroplankton; Elite Beat Agents; Nintendo DS; interface; kinaesthesia; | |||
| Kerins | Mark | Multichannel Gaming and the Aesthetics of Interactive Surround | In John Richardson, Claudia Gorbman, Carol Vernallis (eds.), The Oxford Handbook of New Audiovisual Aesthetics (Oxford: Oxford University Press) | 2013 | AC | surround sound; multichannel sound; interactivity; immersion; genre; platform games; third-person; first-person; rhythm games | |||
| Kizzire | Jessica | "The Place I'll Return to Someday": Musical Nostalgia in Final Fantasy IX | In K. J. Donnelly, William Gibbons, Neil Lerner (eds.), Music in Video Games: Studying Play (New York; London: Routledge) | 2014 | AC | Final Fantasy; nostalgia; 8-bit; analysis; Baroque music; Renaissance music | |||
| Knight | Tim | Mastering Sound and Music on the Atari ST | Berkeley, CA: Sybex | 1987 | BM | Atari ST; sound design; composition; 8-bit; technology; | |||
| Knoblauch | William | SIMON: The Prelude to Modern Music Video Games | In Michael Austin (ed.), Music Video Games: Performance, Politics, and Play (London: Boomsbury) | 2016 | AC | SIMON; hand-held; Hasbro; history; arcade games | |||
| Kohler | Chris | Power-Up: How Japanese Video Games Gave the World an Extra Life | Indianapolis: Bradygames | 2005 | BM | history; Japan; interviews; final fantasy; cinematic aesthetic | |||
| Kudisch | Erica | Selected annotated bibliography | In Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 189-194 | 2008 | AC | Academic; scholarship; bibliography; publications; resources; articles; books | |||
| Langhorst | Tom | The Unanswered Question of Musical Meaning: A Cross-domain Approach | In Karen Collins, Bill Kapralos, Holly Tessler (eds.), The Oxford Handbook of Interactive Audio (Oxford: Oxford University Press) | 2014 | AC | music cognition; musical meaning; sound design; interaction design; tonality; arcade games; user interface | |||
| Lansley | Alastair | Peter Vamplew, Cameron Foale, Philip Smith | SoniFight: Software to Provide Additional Sonification Cues to Video Games for Visually Impaired Players | The Computer Games Journal 7/2, 115-130 | 2018 | AP | https://link.springer.com/article/10.1007/s40869-018-0059-6 | sonification; sonify; audio cues; visual impairment; accessibility; blind; audio game | |
| Laroche | Guillaume | Analyzing Musical Mario-media: Variations in the Music of Super Mario Video Games | McGill University | 2012 | DM (M) | digitool.library.mcgill.ca/thesisfile107638.pdf | Super Mario Bros.; Super Mario World; Super Mario 64; Super Mario Sunshine; analysis; themes | ||
| Lefford | Nyssim | The Generative Process, Music Composition and Games | Leonardo 40(2) 129-35 | 2007 | AP | generative games; music games; composition; game design | |||
| Lehman | Frank | Methods and Challenges of Analyzing Screen Media | In Miguel Mera, Ronald Sadoff, and Ben Winters (eds), The Routledge Companion to Screen Music and Sound (New York: Routledge), 497-516 | 2017 | AC | analyzing; approaches; modularity; film music; Portal; theory; Neo-Riemannian; Schenker; Portal 2; Michael Morasky | |||
| Lendino | James | Scoring for the Modern Computer Game | Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association | 1998 | AS | composition; dynamic music; technology; middleware; aesthetics; | |||
| Lerner | Neil | The Origins of Musical Style In Video Games, 1977–1983 | In David Neumeyer (ed.), The Oxford Handbook of Film Music Studies (Oxford: Oxford University Press) | 2013 | AC | silent film; wall-to-wall music; history; musical score; film music; Space Invaders; Donkey Kong; screen action | |||
| Lerner | Neil | Mario’s Dynamic Leaps: Musical Innovations and the Specter of Early Cinema in Donkey Kong and Super Mario Bros | In K. J. Donnelly, William Gibbons, Neil Lerner (eds.), Music in Video Games: Studying Play (New York; London: Routledge) | 2014 | AC | Donkey Kong; Super Mario Bros.; silent film; early cinema; history; mickey-mousing | |||
| Levy | Laura | The Effects of Background Music on Video Game Play Performance, Behavior and Experience in Extraverts and Introverts | Georgia Institute of Technology | 2015 | DM (M) | https://smartech.gatech.edu/bitstream/handle/1853/54462/LEVY-THESIS-2015.pdf | cognitive performance; flow; behavior; big five; introvert; extravert; background music | ||
| Liberman | David | Game Enhanced Music Manuscript | In Stephen Spencer (ed.), Proceedings of the 4th International Conference on Computer Graphics and Interactive Techniques in Australasia and South East Asia (GRAPHITE 2006) (Melbourne: ACM Press), 245-250 | 2006 | AS | game-scores; concerts; performance; composition; art; non-linearity | |||
| Liebe | Michael | Interactivity and Music in Computer Games | In Moormann, Peter (ed.), Music and Game: Perspectives on a Popular Alliance (Wiesbaden: Springer VS) | 2013 | AC | ||||
| Liljedahl | Mats | Sound for Fantasy and Freedom | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 22-43 | 2011 | AC | Physical environment; voices; senses; immersion; GameFlow; Interactive Institute; Sonic Studio; perception; stimuli; game mechanics | |||
| Lind | Stephanie | Active Interfaces and Thematic Events in The Legend of Zelda: Ocarina of Time | In Michael Austin (ed.), Music Video Games: Performance, Politics, and Play (London: Boomsbury) | 2016 | AC | Zelda; Nintendo; diegetic; leitmotif; virtual instrument; immersion | |||
| Linda | O'Keeffe | Sound is Not a Simulation: Methodologies for Examining the Experience of Soundscapes | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 44-59 | 2011 | AC | Soundscape; immersion; virtual; navigation; urban spaces; noise; space; design | |||
| Lipscomb | Scott D. | Sean M. Zehnder | Immersion in the Virtual Environment: The Effect of a Musical Score on the Video Gaming Experience | Journal of Physiological Anthropology and Applied Human Sciences 23/6, 337-343 | 2004 | AP | immersion; film music; cognition; perception; virtual environment | ||
| Lomeland | Jon Inge | How Can Interactive Music be Used in Virtual Worlds Like World of Warcraft? | In Karen Collins, Bill Kapralos, Holly Tessler (eds.), The Oxford Handbook of Interactive Audio (Oxford: Oxford University Press) | 2014 | AC | interactive music; MMORPG; World of Warcraft; listener fatigue; composition techniques; nostalgia | |||
| López Ibáñez | Manuel | Nahum Álvarez, Frederico Peinado | Towards and Emotion-Driven Adaptive System for Video Game Music | International Conference on Advances in Computer Entertainment | 2017 | AS | dynamic music; affective computing; procedural music; interactive storytelling | ||
| Marks | Aaron | The Complete Guide to Game Audio for Composers, Musicians, Sound Designers, and Game Developers 2nd Ed | Burlington, MA and Oxford: Focal Press | 2009 | BM | composition; sound design; how-to | |||
| Marks | Aaron | Jeannie Novak | Game Development Essentials: Game Audio Development | New York: Delmar | 2009 | BM | composition; sound design; how-to | ||
| Martello | Anthony | 8-Bit Heroes: A Look into the Development and Presence of Early Video Game Music in Popular Culture | Wesleyan University | 2010 | DM (U) | http://wesscholar.wesleyan.edu/cgi/viewcontent.cgi?article=1393&context=etd_hon_theses | 8-bit; popular music; Super Mario Bros. | ||
| McAlpine | Kenneth | The sound of 1-bit: Technical constraint as a driver for musical creativity on the Sinclair ZX Spectrum | GAME 6: Hear the Music, Play the Game. Music and Game Design: Interplays and Perspectives | 2016 | AP | ||||
| McAlpine | Kenneth | All Aboard the Impulse Train: An Analysis of the Two Channel Music Routine in Manic Miner | The Computer Games Journal 4/3 | 2015 | AP | 1-bit music; ZX spectrum; chiptune; binary impulse train analysis | |||
| McAlpine | Kenneth | Shake and Create Reappropriating Video Game Technologies for the Enactive Learning of Music | In Serious Games and Edutainment Applications, Volume II. Minhua Ma, Andreas Oikonomou (eds.). Cham: Springer | 2017 | AC | enactive learning; gestural control; hacking; music education; KIDI; MIDI interfaces | |||
| McKittrick | Megan | Scott Pilgrim vs. The Veteran Gamer: The Canonization and Commodification of Nostalgia in Anamanaguchi’s 8-bit Video Game Soundtrack | Reconstruction: Studies in Contemporary Culture 14, no. 1 | 2014 | AP | http://reconstruction.eserver.org/Issues/141/McKittrick.shtml | Scott Pilgrim vs. The World; Anamanaguchi; chiptune; 8-bit; postmodernism; nostalgia aesthetic | ||
| McSweeney | Anthony | Rob Hubbard's Music: Disassembled, Commented and Explained | C=Hacking | 1993 | AP | http://ffd2.com/fridge/chacking/c=hacking5.txt | Rob Hubbard; sound chip; hacking; Commodore 64 | ||
| Medina-Gray | Elizabeth | Meaningful Modular Combinations: Simultaneous Harp and Environmental Music in Two Legend of Zelda Games | In K. J. Donnelly, William Gibbons, Neil Lerner (eds.), Music in Video Games: Studying Play (New York; London: Routledge) | 2014 | AC | transitions; analysis; The Legend of Zelda; instruments; smoothness | |||
| Medina-Gray | Elizabeth | Modularity in Video Game Music | In Michiel Kamp, Tim Summers, Mark Sweeney (eds.), Ludomusicology: Approaches to Video Game Music (Sheffield; Bristol, CT: Equinox) | 2016 | AC | analysis; avant-garde; indeterminacy; John Cage; Pierre Boulez | |||
| Medina-Gray | Elizabeth | Modular Structure and Function in Early 21st-Century Video Game Music | Yale University | 2014 | DD | modularity; structure; transitions; loops; Flower; earcons; indeterminate music; smoothness | |||
| Medina-Gray | Elizabeth | Musical Dreams and Nightmares: An Analysis of Flower | In Miguel Mera, Ronald Sadoff, and Ben Winters (eds), The Routledge Companion to Screen Music and Sound (New York: Routledge), 562-576 | 2017 | AC | Modularity; interactivity; smoothness; disjunction; analysis; theory; generative; procedural; Vincent Diamante | |||
| Meneguette | Lucas Correia | A afinação do mundo virtual: identidade sonora em jogos digitais | University of São Paolo | 2016 | DD | audio; world building; sound palette; ludofunctional characterization; acoustic ecology | |||
| Mera | Miguel | Invention/Re-invention | Music, Sound and the Moving Image 3/1, 1-20 | 2009 | AP | intertextuality; film; cross-mediality; film music; Tomb Raider; Second Life | |||
| Mera | Miguel | An Interview with James Hannigan | Music, Sound and the Moving Image 3/1, 99-115 | 2009 | AP | composer interview; film music; Harry Potter; leitmotif; dynamic music; composition; technology; | |||
| Miller | Kiri | Jacking the Dial: Radio, Race, and Place in "Grand Theft Auto" | Ethnomusicology 51/3, 402-438 | 2007 | AP | Grand Theft Auto; culture; radio; licensed music; ethnography; place; hip-hop; rap; avatar; player choice; survey; empirical | |||
| Miller | Kiri | The Accidental Carjack: Ethnography, Gameworld Tourism, and Grand Theft Auto | Game Studies 8/1 | 2008 | AP | Grand Theft Auto; culture; radio; licensed music; ethnography; place; time; history; hip-hop; rap; avatar; player choice; survey; empirical | |||
| Miller | Kiri | Virtual and Visceral Experience in Music-Oriented Video Games | In Carol Vernallis, Amy Herzog, John Richardson (ed.), The Oxford Handbook of Sound and Image in Digital Media (Oxford: Oxford University Press) | 2013 | AC | Guitar Hero; Rock Band; DJ Hero; performance; immersion; game; instrument; guitar; DJ; virtual; ethnomusicology | |||
| Miller | Kiri | Multisensory Musicality in Dance Central | In Karen Collins, Bill Kapralos, Holly Tessler (eds.), The Oxford Handbook of Interactive Audio (Oxford: Oxford University Press) | 2014 | AC | rhythm game; Dance Central; dance; multisensory; interactivity; participatory culture; interface; ethnomusicology; sound studies | |||
| Miller | Kiri | Grove Street Grimm: Grand Theft Auto and Digital Folklore | Journal of American Folklore 121/481, 255-285 | 2008 | AP | ethnography; Grand Theft Auto; performance practice; licensed music; hip-hop; empirical; folklore; | |||
| Miller | Kiri | Schizophonic Performance: Guitar Hero, Rock Band, and Virtual Virtuosity | Journal of the Society for American Music 3/4, 395-429 | 2009 | AP | survey; response; Guitar Hero; performance; music games; authenticity; realism; | |||
| Mitchell | Helen | Let’s Mix it Up: Interviews Exploring the Practical and Technical Challenges of Interactive Mixing in Games | In Karen Collins, Bill Kapralos, Holly Tessler (eds.), The Oxford Handbook of Interactive Audio (Oxford: Oxford University Press) | 2014 | AC | mixing; interactive; dynamic; sound effects; Foley; real-time integration | |||
| Mitchell | Helen | Plug-In to Fear: Game Biosensors and Negative Physiological Responses to Music | Music and the Moving Image 8/1 | 2015 | AP | biosensors; horror; EEG; brain computer interfaces | |||
| Morris | Jeremy | App Music | In Sheila Whiteley and Shara Rambarran (eds.), The Oxford Handbook of Music and Virtuality (Oxford: Oxford University Press) | 2016 | AC | apps; Biophilia ; Bjork; Lady Gaga; commodity; enhanced CDs; interactivity; CD-ROMs; cultural goods | |||
| Moseley | Roger | Aya Saiki | Nintendo's Art of Musical Play | In K. J. Donnelly, William Gibbons, Neil Lerner (eds.), Music in Video Games: Studying Play (New York; London: Routledge) | 2014 | AC | Nintendo; Wii Music; Game & Watch; music games; instruments; interfaces | ||
| Moseley | Roger | Playing games with music, and vice versa: performance and recreation in Guitar Hero and Rock Band | In Nicholas Cook and Richard Pettengill (eds.), New perspective on performance studies: music across the disciplines. Ann Arbor: University of Michigan Press | 2011 | AC | Guitar Hero; Rock Band; music games; performance; Caillois; ludus; paidia; virtuosity | |||
| Mullan | Eoin | Physical Modelling for Sound Synthesis | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 340-360 | 2011 | AC | Synthesis; technology; realism; procedural audio; physical modelling; run time; intuitive; virtual world; interaction; environments; perception; physics | |||
| Munday | Rod | Music in Video Games | In Jamie Sexton (ed.), Music, Sound and Multimedia: From the Live to the Virtual (Edinburgh: Edinburgh University Press), 51-67 | 2007 | AC | immersion; diegesis; environment; cognitive immersion; mythic immersion | |||
| Mundhenke | Florian | Resourceful Frames and Sensory Functions - Musical Transformations from Game to Film in Silent Hill | In Moormann, Peter (ed.), Music and Game: Perspectives on a Popular Alliance (Wiesbaden: Springer VS) | 2013 | AC | ||||
| Murphy | David | Flaithrí Neff | Spatial Sound for Computer Games and Virtual Reality | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 287-312 | 2011 | AC | Spatial sound; virtual reality; synthetic environments; mutli-modal spaces; future trends; technology; head related transfer function; implementation; virtual scene | ||
| Nacke | Lennart E. | Mark Grimshaw | Player-Game Interaction Through Affective Sound | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 264-285 | 2011 | AC | Affective activity; aesthetics; sound; emotions; empirical; physiological; psychological; interaction; experience; psychophysiological | ||
| Nacke | Lennart | Mark N. Grimshaw, Craig A. Lindley | More than a feeling: Measurement of sonic user experience and psychophysiology in a first-person shooter game | Interacting with Computers, 22/5, 336-343 | 2010 | AP | empirical; experiment; cognitive; psychophysiology; EMG; EDA; GEQ; user experience; Half-Life 2; | ||
| Newman | James | The Music of Microswitches: Preserving Videogame Sound—A Proposal | The Computer Games Journal (Online First) | 2018 | AP | https://link.springer.com/article/10.1007/s40869-018-0065-8 | preservation; archiving; microswitches | ||
| North | Adrian C. | David J. Hargreaves | Music and Driving Game Performance | Scandinavian Journal of Psychology 40/4, pp. 285-92 | 1999 | AP | http://onlinelibrary.wiley.com/doi/10.1111/1467-9450.404128/abstract | psychology; experiment; arousal; performance; cognitive processing; Indianapolis 500; racing game | |
| Oldenburg | Aaron | Sonic Mechancs: Audio as Gameplay | Game Studies 13/1 | 2013 | AP | http://gamestudies.org/1301/articles/oldenburg_sonic_mechanics | audio; sound art; conceptual art; Proceduralism; experimental; acousmatic; non-cochlear; experimental; artgames; vision-impaired | ||
| O'Leary | Jared | Evan Tobias | Sonic Participatory Cultures within, through, and around Video Games | In Roger Mantie and Gareth Dylan Smith (eds.), The Oxford Handbook of Music Making and Leisure (pp. 543-566 | 2016 | AC | https://global.oup.com/academic/product/the-oxford-handbook-of-music-making-and-leisure-9780190244705?cc=us&lang=en& | participatory culture; sonic participation; leisure | |
| O'Meara | Daniel | Rocksmith and the Shaping of Player Experience | In Michael Austin (ed.), Music Video Games: Performance, Politics, and Play (London: Boomsbury) | 2016 | AC | Rocksmith; rock; music education; pedagogy; guitar; music theory | |||
| Paine | Garth | Interactivity, where to from here? | Organised Sound 7/3, 295-304 | 2002 | AP | https://www.cambridge.org/core/journals/organised-sound/article/interactivity-where-to-from-here/B6D0216390B1F0FE55111792055EA823 | dynamic music systems; sound art; interaction; object-oriented design | ||
| Pasdzierny | Matthias | Geeks on Stage? Inverstigations in the World of (Live) Chipmusic | In Moormann, Peter (ed.), Music and Game: Perspectives on a Popular Alliance (Wiesbaden: Springer VS) | 2013 | AC | ||||
| Paul | Leonard J. | An introduction to granular synthesis in video games | In Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 135-149 | 2008 | AC | pure data; Max/MSP; granular synthesis; sound effects; car engines; fades; dialogue; crowd; ambient sound | |||
| Paul | Leonard J. | For the Love of Chiptune | In Karen Collins, Bill Kapralos, Holly Tessler (eds.), The Oxford Handbook of Interactive Audio (Oxford: Oxford University Press) | 2014 | AC | chiptune; chipmusic; Retro City Rampage; Open ModPlug Tracker; Famitracker; GoatTracker; Commodore 64; Nintendo Entertainment System; Demoscene; Gameboy; MOD Music; trackers | |||
| Paul | Leonard J. | Droppin' Science: Video Game Audio Breakdown | In Moormann, Peter (ed.), Music and Game: Perspectives on a Popular Alliance (Wiesbaden: Springer VS) | 2013 | AC | ||||
| Perez | Matthew | Undertale: A Case Study in Ludomusicology | City University of New York Queens College, 2017 | 2017 | DM (M) | https://www.sssmg.org/wp/repository/undertale-a-case-study-in-ludomusicology/ | soundtracks; music composition; musicology; ethics; Undertale | ||
| Phillips | Winifred | A Composer's Guide to Game Music | Cambridge, MA: MIT Press | 2014 | BM | composition; interactive music; games industry | |||
| Pichlmair | Martin | Fares Kayali | Levels of Sound: On the Principles of Interactivity in Music Video Games | DiGRA '07 - Proceedings of the 2007 DiGRA International Conference: Situated Play | 2007 | AS | music games; design; game mechanics; synaesthesia; performance; rhythm action | ||
| Pichlmair | Martin | Fares Kayali | Levels of Sound: On the Principles of Interactivity in Music Video Games | paper at Digital Games Research Association Conference | 2007 | AS | http://publik.tuwien.ac.at/files/pub-inf_4783.pdf | music games; interactivity; game design; dynamic music; quantisation; synaesthesia; Guitar Hero; | |
| Pichlmair | Martin | Fares Kayali | Playing Music, Playing Games - Simulation vs. Gameplay in Music-based Games | Vienna Games Conference 2008 'Future and Reality of Gaming' (FROG), Vienna, October 17th-19th, 2008 | 2008 | AS | http://igw.tuwien.ac.at/fares/Fares_Kayali/publications/Entries/2008/11/24_Playing_Music,_Playing_Games_-_Simulation_vs._Gameplay_in_Music-based_Games_files/kayali_pichlmair_playingmusic.pdf | music games; interactivity; simulation; performance; Guitar Hero; interface; game design; Huizinga; ludus; paidia | |
| Plank | Dana | Mario Paint Composer and Musical (Re)Play on YouTube | In Michael Austin (ed.), Music Video Games: Performance, Politics, and Play (London: Boomsbury) | 2016 | AC | Mario Paint Composer; YouTube; fandom; participatory culture; nostalgia | |||
| Plank | Dana | From Russia with Fun!': Tetris, Korobeiniki and the ludic Soviet | The Soundtrack 8/1-2 | 2015 | AP | Tetris; Cold War; folk song; Korobeiniki; Russia | |||
| Quiroz | Ignacio | La función metonímica de los sonidos en The Last Of Us: enfoque desde la teoría del conocimiento de Russell | Monograph presented for National University of Litoral - Argentina | 2018 | BM | https://www.academia.edu/37139745/La_funci%C3%B3n_meton%C3%ADmica_de_los_sonidos_en_The_Last_Of_Us_enfoque_desde_la_teor%C3%ADa_del_conocimiento_de_Russell | the last of us; russell; sound effects; metonymy | ||
| Rauscher | Andreas | Scoring Play - Soundtracks and Video Game Genres | In Moormann, Peter (ed.), Music and Game: Perspectives on a Popular Alliance (Wiesbaden: Springer VS) | 2013 | AC | ||||
| Reale | Steven | Chaos in the Cosmos: The Play of Contradictions in the Music of Katamari Damacy | ACT 2 | 2011 | AP | http://www.act.uni-bayreuth.de/de/archiv/2011-02/04_Reale_Chaos_in_the_Cosmos/index.html | Katamari Damacy; music theory; music analysis; semiotics; kawaii; leitmotif; | ||
| Reale | Steven B. | Checkpoint!: The floodgates have opened. Report on the North American Conferences on Video Game Music | The Soundtrack 8/1-2 | 2015 | AP | ||||
| Reid | George | Chiptune: The Ludomusical Shaping of Identity | The Computer Games Journal (Online First) | 2018 | AP | https://link.springer.com/article/10.1007/s40869-018-0070-y | chiptune; fandom; identity; play | ||
| Reiter | Ulrich | Perceived Quality in Game Audio | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 153-174 | 2011 | AC | Quality of experience; cross-modal interaction; stimuli; plausibility; interactivity; attention; salience model; experimental; interaction; audio domain; task; empirical | |||
| Rietveld | Hillegonda | Marco Benoît Carbone | Hear the Music, Play the Game. Music and Game Design: Interplays and Perspectives. | G|A|M|E n. 6/2017 | 2017 | BC | https://www.gamejournal.it/game-n-62017/ | composition; popular music; chip sound; verisimilitude; cross-fade; grime; Ness | |
| Rietveld | Hillegonda | Marco Benoît Carbone | Introduction: Towards a Polyphonic Approach to Games and Music Studies | G|A|M|E n. 6/2017 | 2017 | AP | https://www.gamejournal.it/introduction-towards-a-polyphonic-approach-to-games-and-music-studies/ | game music studies; popular music | |
| Roberts | Rebecca | Fear of the Unknown: Music and Sound Design in Psychological Horror Games | In K. J. Donnelly, William Gibbons, Neil Lerner (eds.), Music in Video Games: Studying Play (New York; London: Routledge) | 2014 | AC | Silent Hill; horror games; Limbo; Dead Space; semiotics; identification | |||
| Roesner | David | Anna Paisley; Gianna Cassidy | Guitar Heroes in the Classroom: The Creative Potential of Music Games | In Michael Austin (ed.), Music Video Games: Performance, Politics, and Play (London: Boomsbury) | 2016 | AC | music games; performance; creativity; interaction; music education; flow | ||
| Roux-Girard | Guillaume | Plunged Alone into Darkness: Evolution and the Staging of Fear in the Alone in the Dark Series | In Bernard Perron (ed), Horror Video Games: Essays on the Fusion of Fear and Play (Jefferson, NC: McFarland & Co), 145-167.E156 | 2009 | AC | perception; staging; alone in the dark; horror | |||
| Roux-Girard | Guillaume | Sound and the Videoludic Experience | In Karen Collins, Bill Kapralos, Holly Tessler (eds.), The Oxford Handbook of Interactive Audio (Oxford: Oxford University Press) | 2014 | AC | sound; listening; experience; Uncharted 2: Honor Among Thieves; Civilization IV; interactivity | |||
| Roux-Girard | Guillaume | Listening to Fear: A Study of Sound in Horror Computer Games | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 192-212 | 2011 | AC | Horror; emotion; fear; dread; meaning; sonic structure; gameplay; sound; reception | |||
| Sadoff | Ronald H. | Scoring for Film and Video Games: Collaborative Practices and Digital Post-Production | In Carol Vernallis, Amy Herzog, John Richardson (ed.), The Oxford Handbook of Sound and Image in Digital Media (Oxford: Oxford University Press) | 2013 | AC | film scoring; adaptive music; digital post-production; MIDI mockup; audio director; The Departed; The Lord of the Rings; | |||
| Sanders | Timothy | Paul Cairns | Time perception, immersion and music in videogames | Conference paper BCS HCI 2010 | 2010 | AS | https://www-users.cs.york.ac.uk/~pcairns/papers/Sanders_HCI2010.pdf | time perception; immersion; experience; game design; empirical; psychology; cognition; | |
| Sanger | George | The Fat Man on Game Audio: Tasty Morsels of Sonic Goodness | Indianapolis: New Riders | 2003 | BM | written by composer; compositional philosophy; biography; technique; history; technological development | |||
| Schartmann | Andrew | Maestro Mario: How Nintendo Transformed Video Game Music into an Art | New York: Thought Catalog | 2013 | BM | Nintendo; history; sound effects; arcade games; Super Mario Bros.; Metroid; The Legend of Zelda; chiptune | |||
| Schartmann | Andrew | Koji Kondo's Super Mario Bros. Soundtrack | New York; London: Bloomsbury | 2015 | BM | Super Mario Bros.; history; sound effects; conceptual metaphors; Nintendo Entertainment System; technology | |||
| Schmidt | Brian L. | Designing sound tracks for coin-op games, or, Computer music for under $65.00 | Proceedings: 1989 International Computer Music Conference. San Fransisco: Computer Music Association, 273-276. | 1989 | AS | arcade; composition; sound design; function; technology; sound chips; | |||
| Schütze | Stephan | The creation of an audio environment as part of a computer game world: the design for Jurassic Park - Operation Genesis on the XBOX" as a broad concept for surround installation creation | Organized Sound 8/2, 171-180 | 2008 | AP | sound design; sound installation; space; soundscape; technology; surround sound; | |||
| Shultz | Peter | Music theory in music games | In Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 177-188 | 2008 | AC | music theory; Dance Dance Revolution; Guitar Hero; analysis; teaching; timing; music games; Schenker; learning; flow; challenge; space; reduction | |||
| Shultz | Peter | Rhythm Sense: Modality and Enactive Perception in Rhythm Heaven | In Michael Austin (ed.), Music Video Games: Performance, Politics, and Play (London: Boomsbury) | 2016 | AC | Rhythm Heaven; rhythm; meter; groove; music game | |||
| Smith | Jacob | I Can See Tomorrow In Your Dance: A Study of Dance Dance Revolution and Music Video Games | Journal of Popular Music Studies, 16/1, 58-84 | 2004 | AP | Dance Dance Revolution; fan culture; competitions; music games; party rap; PaRappa the Rapper; imitation games; rhythm games | |||
| Smith | Barnabas | Rip & Tear: Deconstructing the Technological and Musical Composition of Mick Gordon's Score for DOOM (2016) | Proceedings of the Australasian Computer Music Conference 2017 | 2017 | AC | http://barnabassmithmusic.com/wp-content/uploads/2017/12/BSmith_ACMC2017DOOM.pdf | Video Game; Music; DOOM; Composition; Score; Technology; Distortion; Guitar; First-Person Shooter | ||
| Sporka | Adam J. | Jan Valta | Design and implementation of a non-linear symphonic soundtrack of a video game | New Review of Hypermedia and Multimedia 4 | 2017 | AP | dynamic music; asset management; music production; Kingdom Come: Deliverance | ||
| Stevens | Richard | Dave Raybould | Designing a Game for Music: Integrated Design Approaches for Ludic Music and Interactivity | In Karen Collins, Bill Kapralos, Holly Tessler (eds.), The Oxford Handbook of Interactive Audio (Oxford: Oxford University Press) | 2014 | AC | adaptive; dynamic; ludic music; form | ||
| Stevens | Richard | Dave Raybould | The reality paradox: Authenticity, fidelity and the real in Battlefield 4 | The Soundtrack 8/1-2 | 2015 | AP | audio; realism; authenticity; immersion; mediation | ||
| Stockburger | Axel | The Game Environment from an Auditive Perspective. | In Level Up: Proceedings from DiGRA 2003. | 2003 | AS | http://www.stockburger.at/files/2010/04/gameinvironment_stockburger1.pdf | space; environment; perception; sound design; function; sound objects; acousmatic | ||
| Strank | Willem | The Legacy of iMuse: Interactive Video Game Music in the 1990s | In Moormann, Peter (ed.), Music and Game: Perspectives on a Popular Alliance (Wiesbaden: Springer VS) | 2013 | AC | ||||
| Stroetgen | Stefan | P(l)aying Music and Games | In Moormann, Peter (ed.), Music and Game: Perspectives on a Popular Alliance (Wiesbaden: Springer VS) | 2013 | AC | ||||
| Studley | Thomas | Richard Vella, Nathan Scott, Keith Nesbitt | A definition of creative-based music games | ACSW '18 Proceedings of the Australasian Computer Science Week Multiconference | 2018 | AS | https://dl.acm.org/citation.cfm?id=3167921 | music games; creativity; EvoMusic; Soundrop | |
| Summers | Tim | Playing the Tune: Video Game Music, Gamers, and Genre | ACT 2 | 2011 | AP | http://www.act.uni-bayreuth.de/de/archiv/2011-02/02_Summers_Playing_the_Tune/index.html | genre; interaction; musical traditions; alone in the dark; fighting games; strategy games; musical analysis | ||
| Summers | Tim | Understanding Video Game Music | Cambridge: Cambridge University Press | 2016 | BM | analysis; methodology; film music; aesthetics; immersion; dynamic music | |||
| Summers | Tim | From Parsifal to the PlayStation: Wagner and Video Game Music | In K. J. Donnelly, William Gibbons, Neil Lerner (eds.), Music in Video Games: Studying Play (New York; London: Routledge) | 2014 | AC | Wagner; The Dig; Loom; Halo; Final Fantasy VI; leitmotif; Monkey Island 2; iMUSE; metaphysics | |||
| Summers | Tim | Analysing Video Game Music: Sources, Methods and a Case Study | In Michiel Kamp, Tim Summers, Mark Sweeney (eds.), Ludomusicology: Approaches to Video Game Music (Sheffield; Bristol, CT: Equinox) | 2016 | AC | analysis; Halo: Combat Evolved; methods | |||
| Summers | Tim | Video Game Music: History, Form and Genre | University of Bristol | 2012 | DD | genre; history; aesthetics; culture; semiotics; speech-act theory; adaptive music | |||
| Summers | Tim | Dimensions of Game Music History | In Miguel Mera, Ronald Sadoff, and Ben Winters (eds), The Routledge Companion to Screen Music and Sound (New York: Routledge), 139-152 | 2017 | AC | genre; generations; audience; concerts; reception; technologies | |||
| Svec | Henry | Becoming Machinic Virtuosos: Guitar Hero, Rez, and Multitudinous Aesthetics | Loading 2/2 | 2008 | AP | postmodern economics; performance; capitalism; Guitar Hero; Rez; empire | |||
| Sweeney | Mark | Isaac's Silence: Purposive Aesthetics in Dead Space | In Michiel Kamp, Tim Summers, Mark Sweeney (eds.), Ludomusicology: Approaches to Video Game Music (Sheffield; Bristol, CT: Equinox) | 2016 | AC | aesthetics; Dead Space; avant-garde; Krzysztof Penderecki; Alien; The Shining | |||
| Sweeney | Mark | Aesthetics and social interactions in MMOs: The gamification of music in Lord of the Rings Online and Star Wars: Galaxies | The Soundtrack 8/1-2 | 2015 | AP | aesthetics; aesthetic experience; gamification; social interaction; Lord of the Rings Online; Star Wars Galaxies | |||
| Sweeney | Mark | Analysing Crysis | University of Oxford | 2011 | DM (M) | dynamic music; mobile form; Crysis; analysis; topic theory; aesthetics; aleatoric composition; | |||
| Sweeney | Mark | The Aesthetics of Videogame Music | University of Oxford | 2014 | DD | https://ora.ox.ac.uk/objects/uuid:70a29850-0c0d-4abd-a501-e75224fa856a | Ludomusicology; Aesthetics; culture industry; Kirkpatrick; play; aleatory; aleatoric; | ||
| Sweet | Michael | Writing Interactive Music for Video Games: A Composer's Guide | Boston, MA: Addison-Wesley | 2014 | BM | composition; interactive music; middleware; industry | |||
| Tafalla | Richard J. | Gender Differences in Cardiovascular Reactivity and Game Performance Related to Sensory Modality in Violent Video Game Play | Journal of Applied Social Psychology 37/9, pp. 2008-23 | 2007 | AP | psychology; DOOM; gender; violence; soundtrack; heart rate; blood pressure; stress | |||
| Tan | Siu-Lan | John Baxa and Matthew P. Spackman | Effects of built-in audio versus unrelated background music on performance in an adventure role-playing game | International Journal of Gaming and Computer-Mediated Simulations, 2/3 | 2010 | AP | Audiovisual; Auditory; Cognitive Load; Interactive; Multimedia; psychology; controller; sources of sound | ||
| Tate | James L. | A Link Between Worlds: The Construction of Nostalgia in Game Music and Final Fantasy IX | University of Surrey | 2017 | DM (U) | Final Fantasy IX; nostalgia; self-quotation; Nobuo Uematsu | |||
| Tessler | Holly | The new MTV? Electronic Arts and 'playing' music | In Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 13-26 | 2008 | AC | MTV; Grand Theft Auto; licensed music; popular music; promotion; Steve Schnur; industry; marketing; copyright | |||
| Thomas | M. | Music in Video Games | The International Journal of Urban Labour and Leisure 6/1 | 2004 | AP | overview; industry; promotion; marketing | |||
| Thomas | Chance | Composing Music for Games: The Art, Technology and Business of Video Game Scoring | Boca Raton, FL: CRC Press | 2016 | BM | composition; interactive music; games industry; textbook | |||
| Tinwell | Angela | Mark Grimshaw, Andrew Williams | Uncanny Speech | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 213-234 | 2011 | AC | human; characters; speech; virtual characters; uncanny valley; sound; lip-synch; human-likeness; facial expression; cross-modal; fidelity; uncanniness | ||
| Tobias | Evan S. | Let's Play! Learning Music through Video Games and Virtual Worlds | In Gary E. McPherson, Graham F. Welch (eds.), The Oxford Handbook of Music Education (Oxford: Oxford University Press) | 2012 | AC | music learning; music engagement; music education | |||
| Tonelli | Chris | The Temporary Avatar Zone: Pico-Pico Parties in Tokyo | In K. J. Donnelly, William Gibbons, Neil Lerner (eds.), Music in Video Games: Studying Play (New York; London: Routledge) | 2014 | AC | Pico-Pico; YMCK; Japan; popular music; performance | |||
| Tonelli | Chris | The Chiptuning of the World: Game Boys, Imagined Travel, and Musical Meaning | In Sumanth Gopinath, Jason Stanyek (eds.) The Oxford Handbook of Mobile Music Studies, Vol. 2 (Oxford Oxford University Press) | 2014 | AC | mobility; musical meaning; music scenes; Nintendo Game Boy; Gaston Bachelard; popular music; chip music; chiptune; Little Sound DJ | |||
| Toprac | Paul | Ahmed Abdel-Meguid | Causing Fear, Suspense, and Anxiety Using Sound Design in Computer Games | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 176-191 | 2011 | AC | emotions; experimental; empirical; fear; suspense; anxiety; Darwinian; James-Lange; cognition; social constructivist; diegetic sound effects; volume; timing; source; synchronization; acoustmatic; untimed | ||
| Tsukamoto | Masanari | Masashi Yamada, Ryo Yoneda | A Dimensional Study on the Emotion of Musical Pieces Composed for Video Games | Proceedings of 20th International Congress on Acoustics, ICA 2010, 23-27 August 2010, Sydney, Australia | 2010 | AS | https://www.acoustics.asn.au/conference_proceedings/ICA2010/cdrom-ICA2010/papers/p918.pdf | psychology; congruency; experiment; pleasantness; excitation; semantic differential scales | |
| van Elferen | Isabella | Gothic Game Music: Hyperreality Haunted | In Gothic Music: The Sounds of the Uncanny | 2012 | AC | horror; gothic; Resident Evil; Silent Hill: Shattered Memories; Call of Cthulhu; uncanny; hyperreal; magic circle; Myst; Lost | |||
| van Elferen | Isabella | Sonic Descents: Musical Dark Play in Survival and Psychological Horror | In Jonas Linderoth (ed.), The Dark Side of Game Play: Controversial Issues in Playful Environments. | 2015 | AC | horror; dark play; Amnesia: The Dark Descent | |||
| van Elferen | Isabella | Analysing Game Musical Immersion: The ALI Model | In Michiel Kamp, Tim Summers, Mark Sweeney (eds.), Ludomusicology: Approaches to Video Game Music (Sheffield; Bristol, CT: Equinox) | 2016 | AC | analysis; affect; literacy; interaction; immersion; Dead Space 2; Amnesia: The Dark Descent; Remembering | |||
| van Elferen | Isabella | Perpetuum Mobile: Musical Virtual Worlds from Sound Recording to Videogames | In Nicholas Cook, Monique Ingalls, David Trippett, and Peter Webb (eds.), The Cambridge Companion to Music and Digital Culture | 2017 | AC | virtual reality; musical immersion; mobile music; affect; embodiment; drastic | |||
| van Elferen | Isabella | Un Forastero! Issues of Virtuality and Diegesis in Videogame Music | Music and the Moving Image 4/2 | 2011 | AP | virtuality; magic circle; flow; hyperreal; ludic; narrative; Guitar Hero; Resident Evil; intermediality; GPS; dynamic music; uncanny; diegesis | |||
| van Geelen | Tim | Realizing groundbreaking adaptive music | In Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 93-102 | 2008 | AC | future; adaptive composition; | |||
| Villarreal III | Armando | The Effects of Music on Gameplay and Immersion | MIT | 2009 | DM (M) | experience; immersion; Gears of War; questionnaire; empirical; game design | |||
| Wang | Ge | The World Is Your Stage: Making Music on the iPhone | In Sumanth Gopinath, Jason Stanyek (eds.) The Oxford Handbook of Mobile Music Studies, Vol. 2 (Oxford Oxford University Press) | 2014 | AC | iPhone; app; mobile phone; mobile music; social music; physical interaction design; Smule; Ocarina; Sonic Lighter;Leaf Trombone: World Stage; Stanford University; CCRMA. | |||
| Weske | Jörg | Digital Sound and Music in Video Games | Online Research Website | 2002 | ER | http://3daudio.info/gamesound/ | history; technology; genre; dynamic music; interview | ||
| Western | Gary | Top Score: The Evolution and Significance of Video Game Music | CSU Monterey Bay | 2011 | AS | https://garywestern.files.wordpress.com/2011/04/garywestern_topscore.pdf | music games; history; function; technology; MIDI; culture; chip music | ||
| Whalen | Zach | Play Along - An Approach to Videogame Music | Game Studies 4/1 | 2004 | AP | immersion; function; cartoon music; mickey mousing; narrative; Super Mario Bros.; Legend of Zelda; Silent Hill; | |||
| Whalen | Zach | Case Study: Film Music vs. Video-Game Music: The Case of Silent Hill | In Jamie Sexton (ed.), Music, Sound and Multimedia: From the Live to the Virtual (Edinburgh: Edinburgh University Press), 68-81. | 2007 | AC | film music; musical function; silence; Silent Hill; horror; radio; static; adaptive music | |||
| Wharton | Alexander | Karen Collins | Subjective Measures of the Influence of Music Customization on the Video Game Play Experience: A Pilot Study | Game Studies 11/2 | 2011 | AP | http://www.gamestudies.org/1102/articles/wharton_collins | customization; customisation; experience; choice; psychology; Fallout; immersion; emotion; tactics; performance; playlist; personalisation; multiplayer; empirical; social | |
| Whitmore | Guy | A DirectMusic Case Study for Russian Squares for Windows XP Plus Pack | In Todd M. Fay with Scott Selfon and Todor J. Fay (eds), DirectX 9 Audio Exposed: Interactive Audio Development (Plano, Texas: Wordware Publishing), 369-386 | 2004 | AC | adaptive music; puzzle games; compositional challenges; sound examples; audio design; case-study; written by composer | |||
| Wilde | Martin D. | Audio Programming for Interactive Games | Oxford and Burlington, MA: Focal Press | 2004 | BM | how-to; music programming | |||
| Wilhelmsson | Ulf | Jacob Wallén | A Combined Model for the Structuring of Computer Game Audio | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 98-130 | 2011 | AC | IEZA-framework; audio building; film sound; affordance; Murch; Gibson; Huiberts; van Tol; layering; encoded; embodied' cognition' functionality; loudness; frequency range; F.E.A.R.; Warcraft III; Legend of Zelda; tollset; production; structure; game design document | ||
| Williams | Duncan | Newton Lee | Emotion in Video Game Soundtracking | Cham: Springer | 2018 | BC | emotion; algorithmic composition; BCMI; cutscenes | ||
| Williams | Duncan | Jamie Mears, Alexis Kirke, Eduardo Miranda, Ian Daly, Asad Malik, James Weaver, Faustina Hwang, Slawomir Nasuto | A Perceptual and Affective Evaluation of an Affectively Driven Engine for Video Game Soundtracking | Computers in Entertainment 14/3 | 2016 | AP | https://cie.acm.org/articles/perceptual-and-affective-evaluation-affectively-driven-engine-video-game-soundtracking/ | dynamic music; algorithmic composition; procedural music; emotional congruence; immersion; World of Warcraft | |
| Winters | Ben | Idolizing the Synchronized Score: Studying Indiana Jones Hypertexts | In Miguel Mera, Ronald Sadoff, and Ben Winters (eds), The Routledge Companion to Screen Music and Sound (New York: Routledge), 513-542 | 2017 | AC | Lego Indiana Jones; film music; transmediality; John Williams | |||
| Wood | Simon | Video Game Music - High Scores: Making Sense of Music and Video Games | In Graeme Harper, Ruth Doughty and Jochen Eisentraut (eds), Sound and Music in Film and Visual Media: An Overview (New York and London: Continuum, 129-148 | 2009 | AC | Tom Clancy's Splinter Cell; adaptive music; narrative; states; film music | |||
| Wooller | Rene | Andrew R. Brown, Eduardo Miranda, Rodney Berry, Joachim Diederich | A framework for comparison of processes in algorithmic music systems | Generative Arts Practice (Sydney: Creativity and Cognition Studios Press), 109-124 | 2005 | AP | generative music; dynamic music; algorithmic music; composition; middleware; software design | ||
| Yamada | Masashi | Nozomu Fujisawa, Shigenobu Komori | The Effect of Music on the Performance and Impression in a Video Racing Game | Journal of Music Perception and Cognition 7, 65-76 (Japanese) | 2001 | AP | psychology; experiment; racing game | ||
| Youngdahl | Erik | Play Us a Song: The Structure and Aesthetics of Music in Video Games | Wesleyan University | 2010 | DM (U) | http://wesscholar.wesleyan.edu/cgi/viewcontent.cgi?article=1500&context=etd_hon_theses | aesthetics; experience; immersion; dynamic music; atmosphere; Legend of Zelda; PaRappa the Rapper; Rock Band | ||
| Zehnder | Sean M. | Scott D. Lipscomb | The Role of Music in Video Games | In Peter Vorderer and Jennings Bryant (eds.), Playing Video Games: Motives, Responses and Consequences (Mahwah, New Jersey and London: Lawrence Erlbaum Associates, Publishers), 241-258. | 2006 | AC | psychology; genre; empirical surveys; communication; perception; musical options; applied aesthetics | ||
| Zhang | Jiulin | Xiaoqing Fu | The Influence of Background Music of Video Games on Immersion | Psychology & Psychotherapy 5/4 | 2015 | AP | immersion; background music; questionnaire; King of Fighters |